Jay Z - History Mp3 Download REPACK Music

In its primary sources, music merges with the representational arts. Oral tradition has played a fundamental role in all ages, but in its formal sense, history--and the history of music--begins with thevisual record.

Musical notation, having emerged on a wide scale in all civilizations, produced in itself a highly individual record of artistic endeavor. The medieval monks who compiled the missals and other liturgical books for the service of worship rose from their function as scribes to artists in their own right; among the greatest documents of Baroque art are the holographs by Bach; and an entirely novel phase in artistic musical score design was initiated in the twentieth century. The primary sources ofmusic reproduced in this volume rely on various aspects of the graphic arts, but foremost among them stands the representation of the musical sound itself, the art of musical notation.

Jay Z - History Mp3 Download Music

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Among the manifold forms the written image of music has taken are letters or syllables, to represent individual tones, and symbols to represent groups of them. But a more advanced approach is expressedin notation guided not only by the wish to fix the immediate impression of a given musical sound but by the attempt to render the act of musical performance in its continuity. The notational signs which were to prove of the most lasting influence were the highly expressive neumes; it was from them that the generally surviving style of musical script arose. The term was derived from the Greek word neuma --a nod or motion, and in this particular context the manual gesture or gestures to establishdifferent pitch levels--and it suggests the melodic flow as indicated by the leader of an ensemble. Widely used in Eastern and Western music practice, the neumes were invariably connected with vocal performance whose notation was also greatly aided by the joining of musical symbols with verbal text.

The decisive step in the evolution of a readily perceptible image for the musical sound was taken by the Benedictine monk Guido of Arezzo (circa 1000), the preceptor of the cathedral choir school at thatnorthern Italian city and a theorist of unusual pedagogical gift. Guido's achievement was in placing the neumes on lines, for clearer orientation drawn in different colors and representing the interval of a third. With this invention he created the basis of a system that has remained alive in modern practice. So immediately successful was his method that Pope John XIX, "after brief instruction, and to his own surprise, was able to sight-read a melody not previously known to him, without any error," and in justified pride, Guido added "musica sine linea est sicut puteus sine fune" ("music without lines is like a well without a rope").1

Guido's refinements in the definition of pitch were followed by corresponding advances in graphically defining the musical sound's duration. The use of neumes gradually gave way to that of square-shapednotes and combinations of notes in so-called ligatures. While obviously emanating from the forms of neumes, these new symbols served their purpose with greater exactness of detail.

contribution to the history of music. Influences from the south and east met with those from the north and west by which traditions of monophonic music--unaccompanied melody--merged with developments in probing the harmony of simultaneously sounding voices. They led to the work of the masters at Notre Dame in Paris and various other regions of northern France, the first figures in music history who stand out as individual composers of indigenous styles. In the early polyphonic settings of chant, long and short note values were distinguished by applying the rhythmic modes, inferred from the verse meters of antiquity, to groups of notes. But fourteenth-century theorists declared a categoric difference between old and new styles (ars antiqua andars nova), the latter reflected by means of notation that departed from the modal system and adopted a system of strict measuring, the so-calledmensural notation. The differentiation of note values grew, adding to the horizontally placed square shapes more precisely placed diamond shapes; and the color of notes changed from black to white (i.e., a mere black outline of the note shape which, once again, ensured greater precision of notation).

The magnificent appearance of missals from the waning Middle Ages and early Renaissance, with their lavish illuminations, may make it at times difficult to decide which is the greater artistic achievement:the manuscript itself, or the art it represents. We are dealing with a period that was not yet fully conscious of the distinction between artist and artisan known in later ages. But the time was approaching when the work of the scribe was supplanted by that originating in centers of printing whose interest and influence reached beyond the sphere of the individual artifact. The process of music printing obviously grew in stages. In early phases, merely the lines were given in print, the neumesbeing entered by hand, or folios were produced by "double printing"--the lines in red and, in a second imprint, the notes in black. The first printer of mensural music, the Venetian Ottaviano Petrucci, wasfor a long time considered the inventor of the art of printing music with movable type, yet his excellent work (begun about 1500) was preceded by that of various print shops in the north.

The sixteenth century became a "golden age" that produced the classical summaries of the art of vocal polyphony in sacred and secular music as well as in treatises on music theory. Among the latter,L'Istitutioni Harmoniche (1555, reprinted 1562 and 1573) by Gioseffo Zarlino (1517-1590), Master of the Chapel at St. Mark's in Venice, assumed a preeminent place. As the title suggests, the work wasdedicated to the age-old ideals of symmetry and proportion, the "harmony of all parts in relation to the whole," as described by the writers of antiquity. In his thorough discussion of the correlation of tonesand melodies, Zarlino--like the early authors on perspective--saw himself obliged to create a completely new terminology. His concern with measurement and the concepts of division and inversion lends his work an authority extending to the fine arts as much as to music, and the numerous ornamental illustrations accompanying his text go far beyond the traditional embellishment of enhanced initial letters. They render scientific design that represents a true counterpart to the decorativemusic printing of the era.

The work is divided into four parts which the author joins in two larger sections. The first pair deals with the conceptual and physical properties of the musical sound, and the second with the technique ofcomposition. What Zarlino recognizes and, in fact, reconciles, is the time-honored distinction between musica speculativa andmusica activa --theory and practice. In a rather robust way, Guido had referred to the two domains with the well-known verse:

His dichotomy led Guido into a bit of polemic comment on "those who do what they not know" which has remained alive through the centuries, though amply misconstrued. While Zarlino links an introductory chapter on the division of music into speculative and practical branches to "the difference between musician and singer," he significantly redefines the ideas and terms involved, because he speaks of the musicoas the artist able to judge not only the sound but also the "reason contained in this science," whereas the prattico is considered, in his text, on equal terms with a "composer, singer, or player." He states categorically that "practical music is the art of counterpoint," and that the domains of theory and practice are, as in other arts, complementary rather than opposed.

What is of special interest is that he refers to the practice of playing as well as singing, for the rise of instrumental music had posed a fresh challenge to polyphony and to its notation. Zarlino's musicexamples are still arranged according to the old choir book notation in which the separate voices appear side by side; and the audition requirements for early sixteenth-century organists, which have beenpreserved, call for the ability to play a motet from the given number of individual part books. Such an astounding grasp of polyphonic texture, however, gradually became a rare achievement. A historic exception was Mozart's encounter with the choral music of Bach, kept in the library of St. Thomas's church in Leipzig only in separate parts. The account of an eyewitness reads: "and then it was for the silent observer a joy to see how eagerly Mozart sat himself down, with the parts all around him--inboth hands, on his knees, and on the chairs next to him--and, forgetting everything else, did not get up again until he had looked through everything." The sixteenth-century organist, faced with the task of rendering all parts of a polyphonic composition on a single instrument, soon felt the need to tabulatethem in a form in which their simultaneous sound could be readily recognized. The "tabulations" that resulted characterize the appearance of the early keyboard literature and herald the notation of themodern keyboard score.

Score arrangements were actually known as early as the ars antiqua, for the works of the Notre Dame school appear in parts written one under the other, though not necessarily in careful alignment. Older,too, was the device of intabulation itself, but it covered a wide range of notation applied to instrumental music of various kinds. In fact, the device of tablature goes back to the ancient world in the notation ofmusic for instruments such as the flute or zither in systems that lived on in the lute tablatures of the Renaissance. Here, however, it was not a series of pitches that was tabulated, but rather the relative position of fingers or strings to be used in order to produce them, and the tradition has survived in examples of modern notation.

Conversely, the tablatures of polyphonic keyboard music retained a direct connection with the early scores rendering vocal music, and they appeared on a number of staves representing the different voices of the composition, or merely on two staves, showing how these voices were to be combined in the right and left hands of the player. e24fc04721